The Well-Tempered Ear

Classical music: It’s Valentine’s Day 2018. Let us now praise musical couples and say what music we would play to celebrate romantic love

February 14, 2018
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ALERT: If you are a fan of new music, you might not want to miss a FREE concert this Thursday night at 8 p.m. in Mills Hall by the UW-Madison Contemporary Chamber Ensemble.

The program of “Ideas and Landscapes,” assembled and directed by UW’s award-winning composer Laura Schwendinger, includes works by UW students and alumni as well as a world premiere of a work for solo oboe by Schwendinger herself.

For more details about the composers, the performers and the complete program, go to:

https://www.music.wisc.edu/event/contemporary-chamber-ensemble/

By Jacob Stockinger

It is Valentine’s Day 2018, and music plays a big role in celebrating the holiday — as the portrait of Cupid (below) expresses.

This week, musician and teacher Miles Hoffman was featured by National Public Radio (NPR) on the program “Morning Edition” with a most appropriate story about famous musical couples who were also linked romantically.

The Ear was particularly pleased that a same-sex couple  – British composer Benjamin Britten (below left) and British tenor Peter Pears (below right) — was recognized during this time when the homophobic administration of President Donald Trump and Vice-President Mike Pence keeps attacking the rights of lesbian, gay, bisexual and transgender (LGBT) people under the guise of protecting and promoting religious tolerance. The leaders use the concept of religious freedom as camouflage for bigotry, zealotry and prejudice. 

But more conventional and traditional couples were also recognized, and deservedly so.

Here is a link to the story that also contains some wonderful musical samples:

https://www.npr.org/sections/deceptivecadence/2018/02/13/585121135/classical-musics-greatest-love-stories-on-and-offstage

And here is what The Ear wants to know:

First: Can you think of other musical couples – especially local ones — to single out for recognition on Valentine’s Day? The Karp family as well as pianists-singers Bill Lutes and Martha Fischer plus singers Cheryl Bensman Rowe and Paul Rowe, conductor Kyle Knox and Madison Symphony Orchestra concertmaster Naha Greenholtz, and violinist Soh-Hyun Park Altino and cellist Leonardo Altino all come immediately to mind. But surely there are others The Ear has overlooked.

Second: What piece of classical music would you listen to or play in order to express love for your Valentine?

Leave the names and information, with a YouTube link if possible, in the COMMENT section.

Happy Valentine’s Day!!

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Classical music: This weekend, soloist Alban Gerhardt will give the Madison Symphony Orchestra’s first performances of the Cello Concerto by William Walton. Also on the program are an overture by Rossini and the Symphony No. 1 by Brahms

February 12, 2018
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By Jacob Stockinger

This weekend, cellist Alban Gerhardt (below) returns to the Madison Symphony Orchestra to play the lyrically bittersweet Cello Concerto by William Walton for the first time in the history of the MSO.

Filling out the program are the lush and sweeping Symphony No. 1 by Johannes Brahms and the rousing Overture to the opera Semiramide” by Gioachino Rossini.

The concerts are in Overture Hall of the Overture Center, 201 State Street, on Friday, Feb. 16, at 7:30 p.m.; Saturday, Feb. 17, at 8 p.m.; and Sunday, Feb. 18, at 2:30 p.m.

Tickets cost $18-$90, and discounts are available. See below for details.

MSO music director John DeMain (below, in a photo by Peter Rodgers), who will conduct the performance, previewed the “Richly Romantic” program:

“Opening the concert is a favorite overture of mine by the prolific Rossini, from the opera Semiramide.

“Next, we welcome back Alban Gerhardt. This charismatic cellist has a huge repertoire and impeccable technique, as well as consummate musicianship. (NOTE: Gerhardt will also give a FREE and PUBLIC master class at the UW-Madison Mead Witter School of Music on Friday afternoon from 2:30 to 5 p.m. in Morphy Recital Hall.)

“In my search to program important works that have not been previously performed by the MSO, I realized that we have never performed the cello concerto by William Walton. It is a very beautiful and lyrical work, and I look forward to collaborating again with Alban on this project.

“I never like to let too much time pass without programming the Brahms symphonies. The first symphony was a huge success at its premiere, and has been proclaimed a masterpiece. It overtly pays tribute to the great master who gave us nine great symphonies. Indeed, many people have referred to the Brahms first as Beethoven’s 10th.”

Here is more background about the three works:

The Overture to Semiramide marks a departure from other operatic overtures of the early 1800s, in that the themes are drawn directly from the opera’s score.

Written by Rossini (below), one of the greatest opera composers in history, the piece also represents some of his best orchestral writing, starting from the rhythmic opening, to the entrance of the horn choir taken directly from the score of the opera, to the joyously frenetic ending.

Written in 1956 in Ischia, a volcanic island in the Tyrrhenian Sea, the Cello Concerto by William Walton (below) reflects the composer’s love of Italy and has been described as subdued, brittle, bittersweet, and introspective.

The composition is suffused with Italianate warmth and a lyrical, singing quality reflecting both bel canto opera as well as Italian popular song. (In the YouTube video at the bottom, you can hear the first movement played by Gregor Piatigorsky, for whom the concerto was written.)

Praised for the “warm songfulness of his playing” (The Telegraph) at the 2016 BBC Proms, Alban Gerhardt (below) has, for 25 years, made a unique impact on audiences worldwide with his intense musicality, compelling stage presence, and insatiable artistic curiosity.

His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly sets him apart from his peers.

Though he began writing sketches of the piece as early as 1854, the Symphony No. 1 by Brahms (below) was not completed for 21 years, premiering in Germany in 1876. The final movement contains melodies reminiscent of Beethoven’s Symphony No. 9, which has led some critics to dub the work “Beethoven’s Tenth Symphony” much to Brahms’ dismay.

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra and interim artistic director of the Wisconsin Youth Symphony Orchestras (WYSO), will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1718/6.Feb18.html

The Symphony recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk that is free for all ticket-holders.

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets. More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.

Major funding for the February concerts is provided by: The Madison Concourse Hotel & Governor’s Club, University Research Park, and National Guardian Life Insurance Company.

Additional funding was provided by Boardman & Clark LLP, Scott and Janet Cabot, Martha and Charles Casey, Gary and Lynn Mecklenburg, Rodney Schreiner and Mark Blank, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: What music do you listen to when you are sick – if any?

February 10, 2018
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By Jacob Stockinger

About a week ago, The Ear asked how the terrible flu that is going around has affected the classical music scene for both players and audiences.

https://welltempered.wordpress.com/2018/02/03/classical-music-how-is-the-bad-flu-epidemic-affecting-classical-music-in-madison/

Since then, the flu has only gotten worse and it still shows no sign of peaking. More deaths of children and the elderly have been reported.

And now hospitals and emergency rooms are reaching capacity or exceeding it. They are getting understaffed as doctors, nurses and others also come down with the flu and can’t work.

But it got The Ear to thinking:

When you get sick, do you listen to music?

Does it make you feel any better?

Or distract you?

What kind of music — if any – do you prefer to listen when you are sick: Baroque, Classical, Romantic, Modern or Contemporary?

And why do you like it?

Are there specific composers or pieces you turn to when you are sick?

The Ear often listens to Baroque music for the reason he listens to it in the morning: It is upbeat and generally seems to impart energy without taxing your attention span too much.

In fact, he particularly partial to violin concertos by Antonio Vivaldi and the keyboard concertos (below) of Johann Sebastian Bach.

Mahler and Bruckner symphonies or Shostakovich string quartets are just too overwhelming and dark to be salutary. But that is just one person’s opinion.

So given how many people are suffering with the flu or other sickness these days, what advice and illness and listening to music would you give?

Leave a recommendation in the COMMENT section – with a link to a YouTube performance, if possible.

The Ear wants to hear.


Classical music: The UW-Madison’s Pro Arte Quartet delivers a perfect program of superb music by Haydn, Mozart and Schubert

February 5, 2018
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

While snow may have restricted the audience attending the Pro Arte Quartet (below, in a photo by Rick Langer) on Saturday night, those who came were amply rewarded with a virtually perfect program of superb music.

The program brought together three Austrian works, two by those Classical-era titans, Franz Joseph Haydn and Wolfgang Amadeus Mozart, and the third by the Austrian early Romantic Franz Schubert.

The combination of the first two was particularly stimulating, an opportunity to reckon how different from each other were these composers who are so often bracketed together.

The E-flat Quartet is No. 3 in the Op. 50 set that some commentators have viewed as the response by Haydn (below) to the set of six quartets that Mozart had recently published in Haydn’s honor.

Deliberately, Haydn chose to avoid matching Mozart’s lyricism and rich imagination, turning instead to statements of strength in austere textures.

Composed in 1790, a year before his death and only three years after the Haydn work, the Quartet in B-flat, K. 589, by Mozart (below) was his penultimate quartet, part of a series to be written for the King of Prussia who played the cello, which is featured prominently in the quartet.

Here we have a Mozartian style that is expansive and exploratory. Amid music of great lyric beauty and even vivacity, we have a Menuetto third movement whose Trio, or midsection, is remarkably dark and ambiguous. (You can hear a period-instrument performance of the third movement in the YouTube video at the bottom)

The Pro Arte players brought out the individuality of the two different styles quite beautifully. To my ears, the viola lines were delivered with notable strength and color by Sally Chisholm.

The final work, and the longest, was one of Schubert’s amazing late quartets. The No. 13 in A minor, D. 804), from 1824 is known as the “Rosamunde” Quartet because the second movement is the elaboration by Schubert (below) of the lovely melody in the well-known interlude in his incidental music for the play of that title.

Despite a somewhat moody first movement, the work as a whole is suffused with Schubert’s very special, very personal lyricism. Analyses of it can be instructive, but ultimately this remains music for the soul, not just the brain, I think.

The Pro Arte understands that well, and gave a generous demonstration of its beauties.

It proved such a wonderful concert, for which we can only give warm thanks to the UW-Madison’s Mead-Witter School of Music where the Pro Arte Quartet has been an artist-in-residence since World War II.


Classical music: This weekend brings FREE concerts of viola music by Brahms; string quartets by Haydn, Mozart and Schubert from the Pro Arte Quartet; and electronic music by Varese

February 2, 2018
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By Jacob Stockinger

This weekend brings a wide variety of music from different periods and in different styles, all for FREE.

Today from 12:15 to 1 p.m., the weekly Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features violist Blakeley Menghini (below) and pianist Micah Behr playing music by Johannes Brahms and Nikolai Roslawez.

If you are looking for a Classical-style sampler of string quartets, you can’t beat the program by the UW-Madison’s Pro Arte Quartet (below in a photo by Rick Langer) on Saturday night at 8 p.m. in Mills Hall.

The program offers the String Quartet in E-Flat Major, Op. 50, No. 3, by Franz Joseph Haydn; the late String Quartet in B-Flat Major, K. 589, by Wolfgang Amadeus Mozart; and the String Quartet in A Minor “Rosamunde”, D, 804, by Franz Schubert.

If more modern or contemporary music is your preference, Madison native and marimbist Nathaniel Bartlett (below) will perform his own works and the famous “Electronic Poem” by Edgard Varese (heard in the YouTube video at the bottom).

The concert is on Sunday afternoon at 3 p.m. at the Overture Center, 201 State St., in Promenade Hall on the second-floor. For more information about free reservations and the complete program, go to:

http://www.overture.org/events/poeme-electronique


Classical music: The Oakwood Chamber Players perform rarely heard repertoire this Saturday night and Sunday afternoon

January 10, 2018
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By Jacob Stockinger

The Oakwood Chamber Players (below) continue their 2017-2018 season series “Journey” with a concert titled Horizon on this Saturday, Jan. 13, at 7 p.m. and Sunday, Jan. 14, at 2 p.m.

As the group often does, it will present a program of old and new works by composers who are rarely heard or performed.

Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the city’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.

Sunset 1892 by Michael Mikulka is a musical interpretation of a painting by influential American landscape artist George Inness. (Below is another sunset painting, “Sunset Montclair – 1892,” by George Inness, whose work can be found in the Metropolitan Museum of Art in New York City.)

The pastoral colors are represented musically in an evocative manner by the warm timbres of the clarinet and the viola interwoven with pianistic light and shadow. An emerging American composer, Mikulka (below) saw his piece win the grand prize in a 2008 competition. (You can hear it, and see the original inspiration, in the YouTube video at the bottom.)

Serenade for Five Instruments by Italian composer Alfredo Casella (below) was written for a music composition contest in 1927. It nimbly combines the contrasting sounds of the clarinet, bassoon, trumpet, violin, and cello. His musical style is attributed in part to the influence of his avid appreciation for visual art.

This piece was one of the composer’s favorites and is a delightful work with five short contrasting movements that range from lilting to witty to sweetly melodic. Casella studied with Gabriel Faure and was film composer Nino Rota’s composition teacher. (Rota is famous and most familiar for his soundtracks for movies by Federico Fellini, but he also composed a lot of outstanding chamber music.)

Quintet for Winds and Piano by Swiss composer Hans Huber (below) was premiered in 1918 and written for piano, flute, clarinet, horn and bassoon.

Listeners will perceive the influence of Brahms and Schumann in his Romantic style. However, Huber definitely shows individual flair in his approach. The four-movement work is spirited and captivating, and features each of the instruments over the course of the composition with an obvious talent for virtuosic piano writing throughout its entirety.

Guest instrumentalists are Jason Kutz, piano (below); Ariel Garcia, viola; and Halie Brown, trumpet.

The members of the Oakwood Chamber Players (above) are Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szczys, bassoon; Anne Aley, horn; Leyla Sanyer, violin; and Maggie Darby Townsend, cello.

This is the third of five concerts in the Oakwood Chamber Players’ 2017-2018 season series entitled Journey. Remaining concerts will take place on March 10 and 11; and May 19 and 20.

The Oakwood Chamber Players are a group of Madison-area professional musicians who have played with other ensembles such as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and who have rehearsed and performed at Oakwood Village for over 30 years.


Classical music: The Wisconsin Baroque Ensemble celebrates its 20th anniversary with concerts this Friday night in Milwaukee and Sunday afternoon in Madison

November 21, 2017
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By Jacob Stockinger

Here, as elsewhere in the U.S. and around the world, the period instrument movement has become more and more mainstream over the years.

The instruments and the historically informed performance practices have expanded.

The repertoire has also grown, extending both back to Medieval and early Baroque music and forward to the Classical, Romantic and even more modern periods.

Historical research into early music, along with performances and recordings, has influenced even modern music groups such as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, which now sound lighter, clearer and faster when they play Handel operas, Bach concertos and Beethoven symphonies.

Twenty years ago, the Madison Bach Musicians did not exist. Neither did the Madison Early Music Festival or the fully developed early music program at the UW-Madison.

But the Wisconsin Baroque Ensemble (below) was there, having grown out of other period instrument ensembles and performers who pioneered the long-lived and now very successful early music revival.

And the WBE, with changes in personnel, continues strong.

This coming Sunday you can help celebrate the ensemble’s 20th anniversary by attending a concert of mixed baroque chamber music.

The concert is on this Sunday, Nov. 26, at 2 p.m. in Saint Andrew’s Episcopal Church (below), at 1833 Regent Street on Madison’s near west side. (The Wisconsin Baroque Ensemble will also perform the same program in Milwaukee this Friday night at 7:30 p.m. at the Charles Allis Museum. See the WBE website, below, for details)

Performers are Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder, Consuelo Sañudo, mezzo-soprano; Monica Steger; traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets at the door are $20, $10 for students.

A free reception will be held after the concert at 2422 Kendall Ave., second floor.

The program is:

Luigi Rossi – “Io lo vedo, o luci belle” (I see, O beautiful lights)

Georg Philipp Telemann – Trio Sonata for two recorders and basso continuo, TWV 42:F7 (The two opening movements can be heard in the YouTube video at the bottom.)

Marin Marais – Pièces de viole, movements from Book 2  (viol pieces)

Jacopo Peri – “Solitario augellino”(lonely little bird) “O miei giorni fugaci”(O my fleeting days)

Alexander Munro – Bony Jeane, from A Collection of the Best Scots Tunes Fited to the German Flute  (1732)

INTERMISSION

Benedetto Marcello – Sonata for recorder and basso continuo, Op. 2, No. 1

Michel Pignolet de Montéclair – “Les Syrenes” (The Sirenes)

Jakob Friedrich Kleinknecht – Sonata in G major for two flutes and basso continuo

Francisco de Santiago – “Ay, como flecha la Niña Rayos” (Like Arrows, the Girl Rays)

For more information, call (608) 238-5126 or email info@wisconsinbaroque.org, or visit www.wisconsinbaroque.org


Classical music: Piano sensation Daniil Trifonov plays the “Fantaisie-Impromptu” by Chopin and makes it his own

October 27, 2017
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By Jacob Stockinger

Take a world-class young pianist who is a global sensation and on his way to being a superstar who specializes in Chopin – Russian pianist Daniil Trifonov (below).

Add in one of the best-known, most popular works by Frederic Chopin – his “Fantaisie-Impromptu.”

Blend in a warehouse loft and a ghostly, pop-like video with a dance-like narrative, all designed to promote Trifonov’s new CD – a budget double-disc set called “Chopin Evocations” (below).

The recording also features both piano concertos with some new orchestral touches by Russian pianist and conductor Mikhail Pletnev as well as Chopin-influenced solo pieces by Robert Schumann, Edvard Grieg, Samuel Barber, Peter Tchaikovsky and Federico Mompou.

The result may well be the most original, individual and persuasive versions of the famous piece you have ever heard of the almost clichéd piece.

Here is a link to the performance with the video, along with some fine background material from Tom Huizenga who writes the “Deceptive Cadence” blog for NPR (National Public Radio):

http://www.npr.org/sections/deceptivecadence/2017/10/04/555327012/a-young-lion-tamed-by-chopin-s-fantasy

What do you think of Trifonov’s playing in this and other works?

And what do you think about the video, which The Ear finds a bit over-the-top, both precious and schmaltzy, not at all in keeping with Chopin’s more austere and classical kind of Romanticism.

The Ear wants to hear.


Classical music: This weekend the Madison Symphony Orchestra opens its new season with Mendelssohn’s “Reformation” Symphony and music by Bach. It also highlights principal violist in music by Berlioz

September 13, 2017
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, opens its 92nd season with a celebration of the 500th anniversary of the Lutheran Reformation.

The season-opening concert also showcases the Madison Symphony Orchestra as an ensemble with no guest soloist. The MSO’s Principal Violist Chris Dozoryst (below) will solo in Hector Berlioz’sHarold in Italy.”

Also featured is Leopold Stokowski’s famous orchestral arrangement of Johann Sebastian Bach’s Toccata and Fugue in D Minor, and the 500th anniversary of the Lutheran Reformation will be honored with Felix Mendelssohn’s “Reformation” Symphony.

The concerts in Overture Hall of the Overture Center, 201 State Street, are on Friday night, Sept. 15, at 7:30 p.m.; Saturday night, Sept. 16, at 8 p.m., and Sunday afternoon, Sept. 17, at 2:30 p.m.

Ticket information is below.

According to the MSO press release: “The concerts present the music of two composers who shared a deeply spiritual relationship with the Lutheran faith, and passion for music. It is said that Johann Sebastian Bach set faith to music, and Felix Mendelssohn clarified faith for all to hear.

MSO Music Director John DeMain (below, in a photo by Greg Anderson) chose to pair Bach and Mendelssohn specifically for this program.

“Both Bach (below top) and Mendelssohn (below bottom) were devout Lutherans, Mendelssohn having converted from Judaism when he was 12 years old,” DeMain says.

“I decided to open the season with Leopold Stokowski’s great transcription of Bach’s Toccata and Fugue in D Minor for organ, and then give the first performance by the MSO of Mendelssohn’s Symphony No. 5, subtitled the Reformation. Indeed, this symphony quotes extensively from one of the greatest Christian hymns of all time — “A Mighty Fortress Is Our God.””

Bach’s Toccata and Fugue in D minor is a transcription for orchestra by Leopold Stokowski (below) and became well-known after its inclusion in Disney’s film Fantasia. The piece was originally cut from the theatrical release of the film, but was later added back in a 1946 re-release and included Stokowski directing the orchestra at the beginning of the piece. (You can hear the original version for organ, with an unusual graphic display, in the YouTube video at the bottom.)

Hector Berlioz’sHarold in Italy” is considered an autobiographical vignette recounting the composer’s Italian experience. The piece is filled with youthful vitality, tinged with an appealing Romantic sensibility that Berlioz (below)  borrowed freely from literature, most specifically Lord Byron’s poem “Childe Harold’s Pilgrimage.” Playing the solo viola part is MSO’s Principal Violist Chris Dozoryst.

The 2017–18 season will mark Christopher Dozoryst’s 10th season as principal viola with the Madison Symphony Orchestra. In addition to his orchestral duties, Chris also performs with the MSO’s HeartStrings Program as violist with the Rhapsodie Quartet. He also performs and records, working locally and regionally in Madison and Chicago. He has performed numerous engagements with well-known musicians including Tony Bennett, Ray Charles, and Smokey Robinson.

Originally commissioned in 1830 for a celebration of the 300th anniversary of the Augsburg Confession, Mendelssohn honors Martin Luther (below) in his Symphony No. 5Reformation” by including in the finale the beloved hymn Ein’ feste Burg is unser Gott (A Mighty Fortress Is Our God) that Luther had written while the Augsburg Confession was in session. This year marks the 500th anniversary of Luther’s Ninety-Five Theses and the establishment of the Lutheran Church.

One hour before each performance, Amy Hartsough (below), acting director of music at Bethel Lutheran Church, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/1.Sep17.html.

The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, go to: https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.

More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.  

Major funding for the September concerts is provided by: the Wisconsin State Journal and Madison.com, Rosemarie and Fred Blancke, Capitol Lakes, The Gialamas Company, Inc., Marvin J. Levy, Nancy Mohs, and Peggy and Tom Pyle. Additional funding is provided by: DeWitt Ross & Stevens S.C., Forte Research Systems and Nimblify, the Wisconsin Arts Board with funds from the State of Wisconsin, and the federal National Endowment for the Arts.


Classical music: This Friday night is a FREE sampler concert of great German art songs based on great German poetry

September 12, 2017
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By Jacob Stockinger

There is a good reason why art songs are usually referred to by their German name ”Lieder.”

It is because the 19th century in Germany remains a Golden Age when great German Romantic composers such as Franz Schubert and Robert Schumann drew inspiration from great German Romantic poets such as Johann Wolfgang von Goethe (below top) and Heinrich Heine (below bottom).

You can hear a generous sampler of such works, including many well-known individual songs and a famous complete song cycle, this Friday night in a FREE concert at 8 p.m. in Mills Hall.

The singers are guest tenor Wesley Dunnagan (below top) and UW faculty baritone Paul Rowe (below bottom, in a photo by Michael R. Anderson).

The pianists are Benjamin Liupaogo (below top) and UW graduate Thomas Kasdorf (below bottom), who is substituting for Martha Fischer.

The concert is also a partnership between the UW School of Music and the UW German Department. And it marks the 50th Wisconsin Workshop, a series based on the Wisconsin Idea.

For more information and background, go to:

http://www.music.wisc.edu/event/faculty-recital-paul-rowe-voice-martha-fischer-piano/

If you want to prepare and check out some of the repertoire, here is the complete program:

GEDICHTE VON JOHANN WOLFGANG VON GOETHE (1749-1832)

Felix Mendelsson (1809-1847): Ich Wollt’ Meine Lieb’

Franz Schubert (1797-1828): Erster Verlust; Nähe des Geliebten; Rastlose Liebe; Musensohn; Schäfers Klagelied; An die Entfernte; Erlkönig

GEDICHTE VON HEINRICH HEINE (1797-1856)

Clara Schumann (1819-1826): Lorelei; Sie liebten sich beide; Ihr Bildnis

Franz Schubert: Ihr Bild; Das Fischermädchen

Franz Liszt (1811-1886): Lorelei

Felix Mendelssohn: Abendlied

Intermission

Robert Schumann (1810-1856): Dichterliebe, Opus 48 (1840)

Im wunderschönen Monat Mai

Aus meinen Tränen sprießen

Die Rose, die Lilie, die Taube, die Sonne

Wenn ich in deine Augen seh

Ich will meine Seele tauchen

Im Rhein, im heiligen Strome

Ich grolle night (sung by Dietrich Fischer-Dieskau in the YouTube video at bottom)

Und wüßten’s die Blumen, die kleinen

Das ist ein Flöten und Geigen

Hör’ ich das Liedchen klingen

Ein Jüngling liebt ein Mädchen

Am leuchtenden Sommermorgen

Es leuchtet meine Liebe

Ich hab’ im Traum geweinet

Allnächtlich im Traume seh’ ich dich

Aus alten Märchen

Die alten, bösen Lieder


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